UNIT ONE: IN LIEU OF FUNDAMENTALS Chapter 1: Assorted Preliminaries Part One: Matters of Pitch The staff; Clefs; The grand staff; Solmization; The hexachord system; Accidentals Part Two: Modes, Scales, and Evolution Church modes; Evolution of scales; Musica ficta Part Three: Metric Matters Meter; The dot; Early meter signatures; Hypermeter Part Four: Sound The harmonic series; The Legend of Pythagoras; Equal temperament Drills and Assignments Chapter 2: Intervals Perspective: Five Ways of Looking at an Interval Part One: White-Key Intervals Numerical value and quality; Chromatic alteration Part Two: Intervals of the Major Scale Part Three: This and That about Intervals Enharmonic intervals; Inversion; Simple versus compound; Diatonic versus chromatic; Consonance versus dissonance Drills and Assignments UNIT TWO: DIATONIC HARMONY Chapter 3: Basic Harmonic Structures Part One: Triads Harmony and chord; The basic triads Part Two: Inversion Inversion and bass line; Determining inversion Part Three: Seventh Chords Classification; Diatonic seventh-chord types; Inverted seventh chords Drills and Assignments Chapter 4: Musical Shorthand: Lead Sheets and Figured Bass Part One: Lead-Sheet Notation Lead-sheet and chord symbols; Expanded symbols; Passing tones Part Two: Figured Bass Notation The continuo; Figured bass rules Drills and Assignments Chapter 5: Harmonies of the Major and Minor Scales Part One: The Diatonic Chords of a Key Diatonic triads in major; Diatonic triads in minor; Roman numeral symbols; Roman numerals versus lead sheet symbols; Showing inversion Part Two: Functional Tonality Chord stability; The circle of fifths; Harmonic function; Ground bass patterns; Major and minor compared Part Three: More on Seventh Chords Symbolizing seventh chords; Half-diminished versus fully-diminished seventh chord Drills and Assignments Chapter 6: Cadences/Harmonic Rhythm Part One: Cadences Cadences and style; Standard cadences; Cadential variants; Summary of Standard Cadences Part Two: Harmonic Rhythm Common patterns; Harmonic syncopation; Metric shift Drills and Assignments UNIT THREE: MELODY Chapter 7: Melodic Pitch and Rhythm Part One: Range, Interval Structure, and Gesture Range; Interval structure; Gesture Part Two: Repetition Motive; Exact repetition; Sequence Part Three: Melodic Tonality Scale and arpeggio; Large-scale events; Recognizing important pitches; Tonic-dominant axis Drills and Assignments Chapter 8: Embellishing Tones Part One: Step-Step Combinations Passing tone; neighbor tone Part Two: Step-Leap Combinations Appoggiatura; incomplete neighbor; escape tone; changing tones Part Three: Step-Repetition Combinations Anticipation; suspension; retardation; Rearticulated suspensions; Suspensions over a change of bass; Chain suspension Part Four: Embellishing Tones and Style Multiple embellishing tones; Embellishing tones in jazz; Embellishing tones as motives; Pedal point; The embellishing chord tone Summary of Embellishing Tones Drills and Assignments Chapter 9: Melodic Form Part One: The Phrase Some definitions; Phrase lengths; The cadence; Phrase relationships Part Two: Combining and Extending Phrases The period; The phrase group; The double period; Cadential elision; Phrase extension; Phrasing and style Drills and Assignments Chapter 10: Composing Melodies Part One: Constructing a Melody from a Motive The initial melodic idea; The harmonic factor; Devising a harmonic plan Part Two: Composing a Melody to a Harmonic Pattern Drills and Assignments UNIT FOUR: VOICE LEADING Chapter 11: Melodic Principles of Part Writing/ Voicing and Connecting Chords Perspective: Why Four Parts? Part One: Melodic Principles Ranges; Interval motion; Leaps; Sensitive tones; Soprano-bass counterpoint Part Two: Voicing Chords Spacing; Doubling; Alternative doubling; Incomplete triads Part Three: Connecting Chords Consecutive perfect consonances; Voice crossing and overlap; Connecting chords that contain common tones; Connecting chords that do not contain common tones Drills and Assignments Chapter 12: The Chorale/Part Writing with Root-Position Triads Part Writing and Golf Part One: The Chorale Perspective on the chorale; Melodic features Part Two: Part Writing with Root-Position Triads The "short rule" for connecting chords; Fifth relationship; Third Relationship; Second Relationship; Part writing the deceptive cadence Expanded Guidelines for Connection Chords Part Three: Part Writing Suspensions 9-8 Suspension; 4-3 Suspension; 2-3 Retardation Drills and Assignments Chapter 13: Part Writing with Triads in Inversion Perspective Part One: First Inversion Inversion and bass line; Doubling; Chord connection; Inversion and harmonic weight; Suspensions; 7-6 suspension; 2-3 suspension Part Two: Second Inversion Cadential six-four; Passing six-four chord; Pedal six-four chord; Arpeggiated six-four chord; Six-four chord variants Voice-Leading Practices: A Summary Drills and Assignments Chapter 14: Part Writing Seventh Chords Perspective Part One: Dominant-Functioning Seventh Chords Voice leading in the V7; The seventh as embellishing tone; The unresolved leading tone; The ascending seventh; Delayed resolution; The viio7 and viio7 Part Two: Non-Dominant Seventh Chords Function; Resolution; Frequency; Inversion; Incomplete seventh chords; Altered forms; Seventh chords and chainsuspensions; The I7 Drills and Assignments UNIT FIVE: BASIC CHROMATIC HARMONY Chapter 15: Secondary Function I Part One: Secondary Dominants Tonicization; The V/x; The secondary leading tone; The tonicing tritone; The V7/x; Common musical contexts; Harmonic sequence Part Two: Secondary Leading-Tone Chords The viio/x, viio7/x, and viio7/x Drills and Assignments Chapter 16: Secondary Function II Preliminary Note Part One: Jazz and Popular Styles V7/x in barbershop harmony and ragtime; The tonicizing chord group in bop and beyond; viio7/x; bVII as IV/IV Part Two: Voice Leading and Harmonization Drills and Assignments Chapter 17: Modulation I Perspective: A Preliminary Quiz Part One: Modulation by Common Chord The common chord; The pre-dominant in modulation; Multiple common chords; Closely related keys Part Two: Chromatic Modulation Common contexts; Types of chromatic modulation; Evaluating multiple accidentals; Modulation of tonicization? Drills and Assignments UNIT SIX: COUNTERPOINT Chapter 18: The Art of Countermelody Part One: Two-Voice Counterpoint Motion; 1:1 Counterpoint; Converting 1:1 to 2:1; Essentials of counterpoint; Converting 2:1 to 4:1; Jazz and popular Styles Part Two: Fun with Counterpoint Creating a bass; Melodizing the bass; Adding a third voice; Polyphony versus homophony Drills and Assignments Chapter 19: J.S. Bach''s Two-Part Inventions Part One: The Invention Motive and countermotive; Contrapuntal devices Part Two: Invention No. 6 Analysis; Invertible counterpoint; Tonality; Harmony;Implied harmony; Form Drills and Assignments Chapter 20: The Fugue Part One: The Basics of Fugue Subject and answer; The exposition; The countersubject; The development; Episodes and entries; The recapitulation; Summary; Stretto; Counterexposition; The coda Part Two: Analysis J. S. Bach: Fugue No. 16 (WTC I); Analytic comments; Coda Drills and Assignments UNIT SEVEN: ADVANCED CHROMATIC HARMONY Chapter 21: Mixing Modes Perspective: Adding to the Palette Part One: Change of Mode Change of mod.